Were we right to bin Brecht?
Kiev, 10th of March 2014
How and why we decided to dispose of the Berthold-Brechtian fruits to a transcontinental conversion of activists on gender issues and class trouble in pre-revolutionary Ukraine during the run-up to Tunesia WORLD SOCIAL FORUM 2013 (WSF) ?
caption to http://smotri.te.ua/289553#photo:
when our Brechtian convergence went to
pieces in spring 2013, the Portugal-based
fraction of our writing collective decided to fix
their vision of our drama in a lime fresco
wall painting next to organic wine tanks of
some 250 hectolitres at #Casa da Caldeira
Everything was set to take off just within hours in early spring 2013. The legendary "Cooperativa Tipolitografica" near the Italian Port of Genoa, editor of the Anarchist weekly Umanita Nova (since 1920), was positively scheduled for printing 3000 shippable copies of a collective drama at solidarity pricing. A translation into Magrebian French Rap slang was getting its final touch of proof-reading just hours before that. Then, three comrades from Ukraine and Portugal were to take some 9 banana boxes - though stinking with fresh printing ink - onto an already booked 24-hour sea voyage to the violence-ridden African host of the WSF 2013, literarily probing the limits of luggage regulations and current Tunisian import censorship on Lesbian "propaganda".
While the initial drive to go for a
Brechtian form of social expression had been evolved in Istanbul during the Arab spring, 2011, by unemployed Belarus, Russian and Ukrainian dissidents volunteering in a Turkish Feminist Class War squad; by 2013 the promoting collective had considerably gained in scope. It now integrated "Shirley Bespredel", the Belarus ex-editor in chief of a fancy magazine "for a multi-sexual Belarus", Jana S. a co-founder of the Berlin lesbian convergence "Spinnboden", Daniel, currently a peace activist in the Myanmar Civil War and our researcher Christoph Kapp, a renowned global specialist on the crafting of Brecht's Suhrkamp publishing house.
How come, this inner circle of 7 committed activists, always ready-to-fail (try again, fail differently) decided to bin our joyously experimental Brecht drama conversion just before embarking for the African shoreline?
On a superficial level, the emergency brake rope was pulled for quality concerns: "Too literary, too little politically useful narrative," complained our literary proof-reader Christoph. "Just the opposite: too usefully confusing, needs considerable literary refining," retorted the politicizing nerds of our venture. "Sexual frankness of expression, though emancipatory in scope and quality, will unnecessarily provoke resentment among left activists with their awkward dress-codes of pubic prohibitionism in analytical frameworks," warned our Burmese front-liner. "Do not misrepresent Lesbian subjectivity with expressionistic gaiety," we were notified from Berlin. In the end, we found it all neatly summarized by our Belarus junior star: "I'm just off to Malaysia, will be back for discussion later, with Anarchy and Love for all of you..." (400 words)
drafted by Martin Kraemer Liehn,
not by any means 'representative'
for the creative collective behind our
link to the unexpected copy-riot and waste-paper-basket recycling convergence 2014: archive.org/details/MarfasBetaVersion â Marfas (att) riseup.net